Abstract: Wei and Jin Dynasties, the second peak of the prosperity of ancient Chinese literature, played an important role in the history of literature. This period was mainly created by literati, with unique characteristics of "literati literature", which initiated the era of China's "literary consciousness", mainly reflected in the creation of poetry and fu. Poetry-chanting has become the theme of entertainment in banquets, and the formal pursuit of "lovers" caters to the aesthetic needs of literati, so "writing poetry by law" has become the embodiment of pursuing fashion and bravado. This paper mainly discusses the influence of "parallel prose" on poetry from three aspects: literary tendency, gentry's aesthetics and "adding dharma into poetry"
Key words: parallel prose, travel banquet, realistic gorgeous literature, conscious prose, aesthetic wine and literature, music and poetic life, "poetic" literati literature.
As Mr Zong Baihua said, "The Wei, Jin and Six Dynasties were the most chaotic and painful times in China's politics, but they were extremely free, liberated, intelligent and enthusiastic in the spiritual history. Therefore, it is also the most artistic era. " (1) is also the era of "literary consciousness" elaborated by Mr. Lu Xun in "Wei and Jin demeanor and the relationship between articles and medicinal liquor". Judging from the formation and development of literature under the background of the times, the division of society and Cao Cao's "decree" played a decisive role and influenced the writing style of the whole Wei, Jin, Southern and Northern Dynasties. From complexity to simplicity, this paper makes the following analysis on the influence of "parallel prose" on poetry in the "conscious" creative activities of literati.
First, the literati have both flesh and body, and they use "fu fa into poetry"
During the Wei and Jin Dynasties, Fu was still an important theme of literary creation. However, from Han Da Fu to lyrical Fu Xiao, the duality, phonology, rhetoric and allusions of parallel prose are all integrated into the creation of Fu, forming a unique "parallel prose", hereinafter referred to as "parallel prose". "When it comes to Jian 'an, poetry is flourishing." (Continued Jinyang Autumn) ② It can be seen that poetry is very prosperous in Jian 'an, and its representative is Jian 'an Literature Group with Cao Shi and his son as the core. And xelloss in his "Canon? In this paper, the dual-track creative proposition of "poetry and fu should be beautiful" is put forward appropriately. It is not difficult to find that poetry donation became two flourishing literary activities at that time. Cao Zhi and Wang Yi, as well as poets, began to consciously introduce the characteristics of "parallel prose" into poetry creation. In the field of poetry, parallel prose, which has been widely used in ci and fu for a long time, was also the first one they used. (3) Cao Zhi, who was praised by Zhong Rong as "with high backbone and excellent ci poetry", is clearly reflected in his poems. Such as "Luo Shen Fu" in the cloud:
Its shape is as beautiful and elegant as Youlong. Glory Qiuju, Song Chun, Hua Mao. Like a light Yun Zheyue, like the wind flowing back to the snow. Looking from a distance, if the sunrise rises; If you are forced to check it, it will burn like a wave.
At the same time, his poem "Give a White Horse to Wang Biao" goes:
Taigu is vast, and the mountains and trees are gloomy. I drew rain and mud, and it flowed freely. There is no track in Zhong Kui, so you'd better climb the mountain. Today is cloudy, and my horse is yellow. Huang Xuan can still enter, and I am depressed to relieve myself.
Wang Lin, known as the "crown of seven sons", is often comparable to Cao Zhi in the achievement of giving poems. Representative works include Ode to the Building and Seven Wounded Poems, which are not only very similar in content, but also use exquisite parallel prose.
"It is the source of Gao Ci" (4) Lu Ji is also good at writing poems and fu, and in his "Poems on the Road to Luo", he said:
It's always a long way. Weep and kiss each other. Excuse me, son, why? World network baby me. Sigh forever and obey Zhu Bei. Forget going south. It's a long way. The desolate road was abandoned. There are many mountains and rivers. The forest is thin and sleepy. The tiger roared down to the bottom of the valley. The chicken crowed at the top of the tree. The night flows in the sad wind. The lonely beast is in front of me. Feeling sad and moved. Shen is concerned. Stand and look at your hometown. Gu Ying felt sorry for himself.
And the cloud of literary grace:
Or because the branches shook the leaves, or follow the waves to find the source. It is either hidden obviously or easy to get. Or the tiger becomes a beast, or the dragon sees the bird ring. Or apt and easy to apply, or uncomfortable. Calm down and worry about others. Cage heaven and earth in shape, frustrate everything in pen. At first, I lingered on kissing, and finally I was displaced in Korea. Management quality should stand dry, and the text is complicated.
Through comparison, it is found that his style of chanting poems can be described, and it can also be said that it is the expression of "literary consciousness", as well as Pan Yue's Ode to the Western Expedition and its mourning poems, Zuo Si's Ode to Sandu and its chanting poems, etc.
Second, the poetic inheritance pursues the "gorgeous" beauty in form.
Du Zhuyun said, "Couple, couple." He also said, "The words are both beautiful and detached." (Liu Xie, "Guangya? Interpretation, saying). ⑤ "Hua" is the rhetoric of "Li", which was introduced as early as the Han and Wei Dynasties. According to the characteristics of parallel prose, "Hua" was born. The beauty of "gorgeous" became the characteristic of "parallel prose" in Han and Wei Dynasties. Cao Pi put forward that poetry and fu should be beautiful, which guided the pursuit of poetry and fu in form, and at the same time "clarified the contest between fashion and beauty". ⑥ Cao Zhi, known by Rong Rong as "adopting Hua Mao Ci, with both elegance and resentment, and flying literary talent", became a leader in his literary practice and the first person to open a hundred flowers in the Wei, Jin, Southern and Northern Dynasties, whether from his seven-wounded poems, miscellaneous poems and poems about immortals, or from his books by Luo Shenfu and Yang Dezu. Among them, the "seven sons of Jian' an" headed by Wang Lin made a pair of poems. Until the "Taikang" years, the pursuit of "gorgeous" beauty formed the mainstream atmosphere in the article.
Taikang poet, general of Renaissance. Among them, Lu Ji and Pan Yue are the most famous. Lu Ji said in "Wen Fu" that "the process of words is only to serve words", and the main point of the article is: "adopt immortal prose and adopt the charm of thousands of years. Xie Chaohua has been wearing it and does not shake on Tanabata. " ⑧ Poetry and Fu became the best carrier for Taikang literati to display their talents, thus gaining their own lofty honor. Therefore, they pursue "gorgeous" in art, pay attention to skills in form, put forward the creative idea of "vivid and beautiful", strengthened the descriptive function of poetry, and applied the sentence pattern of "parallel prose" to poetry creation. Lu Ji emphasized in Wen Fu that "the combination of algae and thought is beautiful and beautiful. If the beans are embroidered, they will be sad. " His style was called "high talent, rich words and gorgeous body" by Zhong Rong. Attending all these show Taikang's "complex" poetic style. Linguistically speaking, it tends to be gorgeous and gorgeous. For example, Lu Ji's A Tall Building in Northwest China, Zhang Hua's Love Letter and Beauty; In terms of description, it tends to be from simple to complex. Such as: Roaring Tiger by Lu Ji, Mourning Poem by Pan Yue, etc. Sentence patterns and melodies tend to be parallel, and rhyme feet are coupled from scattered lines. For example, Lu Ji's Two Poems of Luo Dao, Pan Yue's Two Poems of He Yang, Zhang Xie's Miscellaneous Poems, Zuo Si's Poems of Wandering Immortals and Guo Pu's Poems of Wandering Immortals. The above aspects reflect the preference of "Tai Kang's poetic style" for "grandeur", and are also the pursuit of aesthetic feeling and artistic spirit for literati to write poems at banquets and entertain themselves.
Thirdly, poetry inherits the spirit of "realism"
When Cao Pi answered Bianlan religion, he said, "The giver is obsessed with words and things. Praise, the description of Mei Shengde, so the author is worthy of his words, and the recipient must be true. " ⑾ Put forward the requirement of new fu, which is also the tendency of "seeking truth from facts" in the creation of lyric small fu. Coupled with the political turmoil and literary consciousness at that time, this "realistic" spirit also permeated the poetry creation at that time. During the Wei and Jin Dynasties, the earliest works that reflected the social reality were Cao Zhi's "Seeing Home" and "Pu Liangxing on Mount Tai". It shows the pain and sadness of parting and life hardship, and the emotion of turbulent society inspires the author's ambition to make contributions. Seven Wounded Poems by Wang Lin, one of the "seven sons of Jian 'an", is also an immortal work of "realism" and is often read by later generations. At the same time, there are Chen Lin's Drinking Horses in the Great Wall Cave, Ruan Yu's Driving Out of the Country, Ruan Ji's Love Poems and Ji Kang's Mourning for the Past. Liu said: "Since the Eastern Han Dynasty, although Ci and Fu were beautiful words, they were supplemented by Zuo Si's" three capitals "and were mainly based on" seeking truth ". ⑿ Zuo Si pays attention to the spirit of "realism", which is also clearly reflected in his Ode to an Epic. Just as "the life thoughts of Ci and Fu writers are all emotional, with objective realism and subjective realism". Based on this, it has a subtle influence on the "realism" of poetry. Zuo Si, as a poet who is passionate about things, "Although the poems about history are about the past, the basic point of the poet's feelings is reality". 14. Starting from realism, his exploration of historical significance embodies the author's realistic moral principles. Liu Kun, a rising star in the Western Jin Dynasty, is also an outstanding representative of "realism". Zhong Rong said: "He has his own spirit of clearing up and pulling out, and Kun is both healthy and evil, so he is good at talking about mourning and hating more." ⒂ When the rulers were in turmoil, "politics and law" were chaotic and the people were in poverty. Liu Duo's generous elegy is purely valuable. At the same time, Guo Pu's poems about immortals show "looking at and chanting" and reveal true feelings. Compared with Zuo Si's Ode to an Epic some time ago, it has the same effect!
Fourth, the needs of the gentry's aesthetic and poetic life.
During the Wei and Jin Dynasties, the gentry flourished, Confucianism was left out in the cold, and freedom prevailed. Cao Cao recruited talented people and established "Jian 'an Literature Group". In the banquet activities of dignitaries and literati, wine and literature have become the theme of entertainment. Wine can stimulate sexual desire, coupled with lingering music, full of interest. Therefore, scholars often write poems and recite poems on the same subject. Cao Pi also advocated the idea that "poetry and fu should be beautiful", and scholars were sympathetic to each other, thus "aristocratic literature" created by nobles was born. It abandons the old form and style, creates beauty with distinctive characteristics, and gradually pursues gorgeous rhetorical style. Lu Ji, who originated from (Rong Shi), put forward the principle of "gorgeous feelings" in his "Wen Fu", "holding poems further pushes them to literati and nobles, leading a gorgeous and elegant poetic style". It can be seen that all the efforts made by Luji in this respect have promoted and formed literary creation with gentry life and aesthetic taste. Scholars are mostly romantic, and the artistic spirit of poetic music is expressed through poems with musical beauty. The extensive absorption of "parallel prose" has the characteristics of "gorgeous", which just embodies the relationship between moral cultivation and literary creation, and the relationship between literature and characters is a part with extremely strong moral significance in ancient literary theory. ⒄ period, most scholars attached great importance to this point. From the analysis of the relationship between music and poetry, it is not difficult to find: "Wei and Jin Dynasties are an era of philharmonic, and there are many wonderful musicians from giants to folk artists. "⒅ from the han dynasty to the western regions, western music was introduced to China. The establishment of "harmony law" in western music coincides with the phonological requirements for the arrangement of forms and harmony. " Parallel prose can't be composed and sung, but the harmony of sound and rhyme is the necessity of music rhythm, so poetry has become the best theme to absorb the formal beauty of parallel prose, and it has been further developed and completed by literati. Later, after all, formed a "couple of hundreds of words" (Liu Xie "Wen Xin Diao Long? "Eternal Ming Style" and "Theory of Rhyme" in Ming Poetry (⒇) led to the emergence of "new poetic style" and had a far-reaching influence on the formation of "metrical poetry" in Tang Dynasty.
Precautions:
① Excerpted from China Literature Research, Pi On Wei-Jin Manners and the Aesthetic Development of Scholar Culture, No.80, 2006, p.27.
② Xu's Metaphysics and Poetics was published by China Social Sciences Press in 2004.
(3) The History of China Literature, edited by Zhang Luo, Fudan University Press 1996.
④ Cao Xu's Poems by Zhong Rong, Shanghai Ancient Books Publishing House, 1994 edition.
⑤ Jiang's A Brief History of Parallel Prose People's Literature Publishing House (1986 edition)
⑥ Essays on Lack of Knowledge, edited by Wu Mingxian, On the Influence of Six Dynasties' Fu Style on Poetry, Bashu Publishing House, 2006.
⑦ The History of Ancient Chinese Literature edited by Zhou Jianzhong, the first volume, Nanjing University Press, September 2003.
⑧ The History of China Literature, edited by Yuan Xingpei, Volume II, was printed by Higher Education Press 14 in April 2004.
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Attending with ④
⑾ Chen Shou's The Three Kingdoms? Shu Wei is published by Zhonghua Book Company, 1982 edition.
⑿ Literature Research in Wei, Jin, Southern and Northern Dynasties, edited by Wu Yun, Zhonghua Book Company 1995 1 1 edition.
[13] Excerpted from Essays on China Ancient Literature, He Xinwen's What Makes People New and What Makes People Old, published by Zhonghua Book Company in 2002.
[14] from China Ancient Literature Collection, Jiang Fang's On the Variants of Zuo Si's Poetry and Fu, published by Zhonghua Book Company in 2002.
⒂ with ⑿
[14] is the same as ③.
⒄ Guo Yingde et al. The History of China Classical Literature Research was published by Zhonghua Book Company 1995.
⒅ Same as ①
Trick Zhu Zhu China Music History Peking University Publishing House (1989 edition)
⒇ Same as ③.